CHANDRAPUR

In Chandrapur, architecture has served as both a witness to and participant in historical change. The district’s built landscape tells the story of shifting power, belief, and identity. Each structure carries traces of the time it was built, the people who shaped it, and the communities that gave it purpose.

Chandrapur’s built heritage reflects a layered intersection of religious, dynastic, and political histories. The Vijjasan Buddhist Caves, dating to the 1st century CE, mark the region’s early prominence under Satavahana patronage and preserve architectural traces of both Hinayana and Mahayana traditions. Bhadravati Fort, later associated with Gond rulers, embodies the military architecture of shifting regional powers while housing a wide range of sculptural forms from Jain, Buddhist, and Hindu traditions, evidence of overlapping belief systems. In contrast, the 20th-century Parshwanath Mandir and the older Hemadpanthi-style Chandika Devi Mandir continue longstanding religious practices while drawing on distinct architectural idioms, illustrating how political change and religious continuity coexist in Chandrapur’s architectural landscape. 

The Chandrapur Forts are not a single structure but rather a series of still-standing remnants now incorporated into daily city life. Highlighting the four individual main gates spread clockwise across the boundary, Jatpura, Anchaleshwar, Pathanpura, and Binba. These gates are not just historical relics; they are major geographical landmarks that define different areas of the city and provide a tangible connection to Chandrapur's past.

The Vijjasan Buddhist Caves are rock-cut caves in the Hinayana and Mahayana styles, located about 2 km west of Bhadravati town in Chandrapur district. The name ‘Vijjasan’ comes from the Pali word Vijja, meaning ‘knowledge’, and translates to ‘Seat of Knowledge’. These caves are among the earliest historical sites in the region, with the oldest dating to the 1st century CE during the reign of Yajna Sri Satakarni of the Satavahana dynasty.

The caves were carved into stone foothills, using narrow tunnels and chamber layouts that prevented structural collapse, a method typical of megalithic Buddhist sites in Maharashtra. The main excavation is cruciform in plan, with a central passage about 71 ft long leading to a chamber housing a Buddha sculpture. Flanking galleries and chambers are furnished with wall carvings, some of which depict religious scenes. Smaller caves and monastic cells are found nearby, and short passages from the main axis lead to a garbhagriha (sanctum) with a seated Buddha carved on a flat-roofed shrine.

The architectural layout includes a lower open passage (63 ft), an upper gallery (74 ft), and two side galleries, 47 ft on the right and 35 ft on the left. Cells for monks are located off these galleries, including a square room measuring 6 ft 9 inches.

A distinct feature of the site is the presence of three stupa symbols carved in low relief on the façade and side walls of the porch. These symbols display key elements of stupa design: medhi, anda, harmika, and chhatravali.

The site reflects transitions in Buddhist practice from the early Hinayana phase to later Mahayana influences. These caves represent Bhadravati’s importance during the Satavahana period and its continued role in Buddhist religious life.

Bhadravati Fort is a square-shaped fort possibly constructed between the 12th and 14th centuries CE, although its exact origins remain uncertain. It is located in Bhadravati taluka, approximately 28 km from Chandrapur city. While the fort is commonly associated with the Gond rulers, some evidence suggests that it may have been built earlier and later came under their control.

Spread over 2.5 acres, the fort has eight small, square-shaped bastions embedded in its walls. The entry to the fort is possible through two gates: the main gate in the northern wall and a smaller gate, facing east, in the southern wall. The northern gate is concealed between two solid stone towers equipped with loopholes for firing rifles and cannons. On either side of this gate are lion sculptures bearing the emblem of the Gond kingdom.

Upon entering, there are two large halls on a raised platform beside the ramparts. These halls are decorated with sculptures and carvings. Many ancient murtis found in the surrounding region are now displayed here. Among them are depictions of Bhagwan Ganesh, Shiv-Parvati, Mahishasuramardini, Mahavir, Buddha, Bhadranath, Vishnu-Lakshmi, Narasimha, Varaha form of Vishnu, dancers, vyalas, lions, and virgals.

The right-side hall has carved niches on its walls, including a sculpture of Arjuna aiming at a fish—a reference to the Mahabharata. Stairs on the adjacent bastions and above the doorway lead to a circular stone platform for mounting cannons and hoisting flags, offering a view of the fort’s interior.

The central courtyard houses the remains of seven buildings and a lime kiln. At its center is a square-shaped stepwell, often referred to as a jalmahal or water palace. The well has three sets of steps descending to different levels and three stone-lined sides with arched carvings. One side, built with bricks, features a large stone slab at its base. Locals believe a tunnel runs from here to outside the fort. Above the well, a thick wall was constructed to channel water, and two gajashilpas (elephant carvings) were installed—one to support a pillar, and the other to redirect excess water into the well. Traces of lime sludge remain nearby.

Only four partial structures survive inside the fort. One of these, close to the rampart and near the second gate, was likely used to house soldiers. The southern gate is flanked by two smaller towers. A human head is carved on its façade. For added security, a horizontal wall and circular tower were later built in front of this gate.

Outside the fort, a large murti of Ganesha is housed in a nearby temple. The site is under the care of the Archaeological Survey of India (ASI), which has preserved many of the sculptures and murtis recovered in and around the area.

Parshwanath Mandir in Bhadravati is a Jain mandir built in the early 20th century in the Jain architectural style. Dedicated to Parshvanatha, the 23rd Tirthankara of Jainism, the Mandir holds religious significance for the Shwetambar Jain community and remains an important pilgrimage site in Chandrapur district.

The Mandir was established between 1910 and 1912 CE by Sri Chaturbhuj Bhai, who was then the administrator of the Antriksha Parshwanath Mandir in Shirpur, Akola. The Mandir is known for its elegant sculptural detailing and intricate carvings, which are hallmarks of Jain mandir design. The structure has undergone renovations over time and continues to attract visitors for both its spiritual significance and architectural refinement.

Chandika Devi Mandir in Bhadravati follows the Hemadpanthi architectural style, which is characterised by the use of black stone and mortarless construction. The Mandir is a significant local site, particularly during Navratri, when practitioners gather in large numbers to celebrate the Devi.

Before entering the Mandir, an elevated platform holds a Shivling surrounded by carved pillars, marking the entrance. The Mandir features a four-pillared sabhamandap (assembly hall), a narrow antaral (vestibule), and a compact garbhagriha. Within the garbhagriha are murtis of Chandika Devi, Mahalaxmi Mata, and Bhavani Mata, enshrined together in a small but revered space. The layout and structure reflect the simplicity and spatial organisation typical of Hemadpanthi mandirs in Maharashtra.